FREQUENCY OF FOREIGN MOVIES WATCHED AND SELF-RATED LANGUAGE SKILLS IN

WATCHING MOVIES OF THE STUDENTS IN HOLY INFANT ACADEMY

A Research Paper

Presented to the Faculty of

HOLY INFANT ACADEMY

Senior High School Department

In partial fulfillment

Of the requirements for the Senior High School

GENERAL ACADEMIC STRAND (GAS)

By

Visaya, Gem Clifford

Malapote, Paul Oliver

SUPERVISOR:

MS. RESY O. VILLANUEVA

 ABSTRACT

This study entitled as Frequency of Foreign Movies Watched and Self-Rated Language Skills in
Watching Movies clearly see that there is a significant relationship between the two variables. The
Independent Variable is correlated with the self-rated language skills in watching movies.

To determine the correlation between them the descriptive correlational design was used in the
statistical treatment of data. The frequency of foreign movies can directly influence the self-rated
language skills in watching movies. The results also shown the means of the independent variable and
dependent variable and the testing of hypothesis, showing that the null hypothesis is accepted that
there is a significant relationship between them.

Recommendation are the following based on the results. The English teacher is recommended
to use foreign films as one of their visual aids so that the student may easily understand the topic and
they may also benefit in terms of improving their vocabulary. The students are recommended to watch
foreign movies with subtitles so that they can learn and adopt some new thing that they can learn in
from it. For the future researchers, conduct similar study research to validate the results of this study.
 ACKNOWLEDGMENT

The proponent of the study would like to extend their deepest gratitude to the following :

First of all to Almighty God who is very open-handed for giving the researchers supremacy,
perseverance and courage they recessitate in every undertaking in life;

To Holy Infant Academy, that served as a molder of knowledge to the researchers;

To Ms. Resy O Villanueva, Researcher Adviser, for the advice, help, understanding for the
accomplishment of this study and for his untiring concern and support during the process of research;

To the students, who actively participated and shared their time during the conduct of survey;

To all who gave the researcher a helping hand in the completion of their study.

THANK YOU VERY MUCH!

The Researcher.
 CHAPTER 1

PROBLEM AND ITS SETTING

INTRODUCTION

With increasing access to audio-visual aids especially TV, English Foreign language learners have
found more opportunities to use audio-visual materials as effective tools in the process of learning
English language. Those kinds of authentic materials are helpful for EFL learners motivate to learn more
vocabularies and understanding the language better. Since the early 1970’s, video materials have made
its way into the EFL classrooms, promoting authenticity and diversity for student learning language
through the use of popular foreign films via digital media. To (Gray, 1939, P.1) “Vocabulary is an
essential means of interchanging ideas has always been accompanied by a corresponding expansion of
his vocabulary”.
Most of the time some of us choose to watch movies on our free time not just to entertain us
but also to learn something new. In connection with this is our self-rated language skill whereas we use
our own vocabulary on understanding the moral of the movies we watch. It also help us to grow more
and learn more to add new things on our vocabulary. Some may not recognize their self, learning and
adopting the mannerism and accent on their daily life.
The researcher conducted this study for the students, for them to determine the importance of
watching foreign movies and the self-rated language. Since it help them in their communication ability.
This study is also for them to be aware on the benefits they get in foreign movies and how their self-
rated language skills improved.

BACKGROUND OF THE STUDY

With increasing access to audio. It is often claimed that watching subtitled films and series
implicitly helps learning a second language. English is the world’s most widely learnt foreign language,
hence the potential of learning through watching subtitled media can have a great economic and social
impact. Nevertheless, this widespread claim in society lacks conclusive scientific evidence. In fact, the
education experts and the public media have mixed opinions about the feasibility of learning languages
through watching films with subtitles. In many European countries’ TV shows and other media content
are broadcasted in their original version with subtitles (Sweden, Belgium, Denmark or the Netherlands),
and even in countries such as Germany, France or Spain where films and foreign media content are
regularly dubbed, subtitled audiovisuals in English are becoming increasingly popular because access to
audiovisual media in its original language with subtitles is easy. This study aims to investigate the
potential benefits of watching subtitled media in major aspects of second language learning such as
phonology and vocabulary.
STATEMENT OF THE PROBLEM

The research aims to describe the frequency of foreign movies watched and self-rated language
skills in watching movies of the students in Holy Infant Academy.
Specifically, it seeks answer to the following questions:
1. How do the student in Holy Infant Academy assess their Frequency number of foreign movies
watched in a week?
2. How do the student in Holy Infant Academy assess their Level of self-rated language skills in
watching movies?
3. Is there a significant relationship between frequency of foreign movies watched and sel-rated
language skills in watching movies of the students in Holy Infant Academy?

ASSUMPTION OF THE STUDY

There is no significant relationship between the effects of watching dramas in terms of listening,
reading, writing, and speaking and the Academic standing of Holy Infant Academy Senior High School
Grade 11 student.

CONCEPTUAL FRAMEWORK

INDEPENDENT VARIABLE DEPENDENT VARIABLE

Frequency of Foreign Self-rated Language

Movies watched
Skills in Watching Movies

The figure above shows the relationship between the effects of watching English Movies in
Learning the English language in terms of listening, reading, writing, speaking the English language and
mastering the English language. The possible outcome is an instructional guide in mastering the English
language.
THEORETICAL FRAMEWORK

Stephen Krashen (University of Southern California) is an expert in the field of linguistics, specializing
in theories of language acquisition and development. Much of his recent research has involved the study
of non- English and bilingual language acquisition. During the past 20 years, he has published well over
100 books and articles and has been invited to deliver over 300 lectures at Universities throughout the
United States and Canada.

This is a brief description of Krashen’s widely known and well accepted theory of second language
acquisition, which has had a large impact in all areas of second language research and teaching since the
1980s.

In the Behaviorist Theory by B.F Skinner, he argued that children imitate adults. Learners watching
dramas tend to adopt the language used in the drama through imitation, this may expand their
vocabulary in the language and help them know the proper way of pronouncing words.

While, Grice’s theory of Logic and Conversation explained how a hearer gets from what is said to
what is meant. Being exposed to English drama does not only helps students in mastering the grammar
rules but also helps them in speaking but also in comprehension. Watching dramas may help learners to
be exposed in real life oral communication. Through this, learners may know which are the proper
words to use in a certain situation.

SCOPES AND DELIMINATION

The focus of the study is to determine the frequency of foreign movies watched and self-rated
language skills in watching movies of the student in Holy Infant Academy. This study is limited in
gathering the data or the answers of the respondents. The study is delimited to the information that will
be gathered by the researchers. Some of the information will be coming from the selected books and
some are from the reliable internet sources.

The total number of respondents of this study is 40 students from Grade 11 students of Holy Infant
Academy wherein the researchers will be using the random sampling. The random sampling is where
the population is first split into groups. The overall sample consists of some members from every group.
The members from each group are chosen randomly. (2018, Khan Academy).

SIGNIFICANCE OF THE STUDY

The findings of the study may provide significant benefits to the following groups or individuals:

English Teachers: This study will help them explore the impact of using English Foreign Movies on
English learners’ lexical achievement.
Students: This study will help them improve their vocabulary and reading comprehension

Future researchers: This study will give a good idea for the future researchers. It can be used as a
reference for same types of studies.

DEFINITION OF TERMS

To facilitate smooth understanding of the content of the study, the following terms are defined.

Foreign Movies - are films primarily in a language other than English

Acquisition – the act if acquiring

EFL- Abbreviation for English as the First Language

Language Acquisition- Process by which humans acquire the capacity to perceive and comprehend
language
 Chapter II:

Review of Related Literature

This chapter presents conceptual and research literature on frequency of foreign movies
watched and self-rated language. Synthesis drawn literature reviewed are also included in this chapter.
Some information is drawn from electronic sources such as website. Documents like books, journals,
theses and dissertations are the chief sources of concepts that significantly substantiated the study.

Conceptual Literature

Relevant topics were reviewed in this study, which incude the roles of frequency of foreign
movies watched and self-rated language in watching in terms of strengthening the knowledge about this
topic.

Foreign movies are films that are considered foreign in a particular country. These are films,
which are made by another country other than the country in which it is screening. It is cast by foreign
actors, and produced by foreign directors and producers.

These kinds of films are generally shown at international film festivals and art house cinemas
that also show independent films and art films. Most foreign films have only limited releases and
modest gross earnings.

Many viewers enjoy foreign films because they are different in many ways. The storyline, the
characters how they acts and associate with one another, the different scenes, how it is filmed and
edited, and etc. Viewers can learn from foreign films the different cultures and be connected to what is
happening around the world.

World cinema is not the sum-total of all films made around the world. Its use is analogous to the
use of the term "world literature". Goethe used the concept of Weltliteratur (world literature) in several
of his essays in the early decades of the nineteenth century to describe the international circulation and
reception of literary works in Europe, including works of non-Western origin. An interest in "world
cinema" suggests an awareness of high-quality films made outside the Hollywood studio system which
dominates international viewership. However, some people use the term to refer to the film and film
industries of non-English-speaking countries in English-speaking countries. Equating the dominant form
of cinema with the dominant language (English) can be inherently problematic.There are many countries
such as Canada, England, South Africa and even Asian countries like India, where films are made in
English but they are part of "world cinema" due to their marginal status in terms of access or viewership.
It can be argued that an understanding of "world cinema" centering around Hollywood cinema suggests
an Eurocentric view. "World cinema" is often used interchangeably with the term foreign film. "Foreign"
is also a relative term, suggesting a Western viewpoint. One person's national cinema can be another
person's foreign film. In fact, American independent cinema may be considered part of "world cinema"
as it does not have adequate access.

Technically, foreign film does not mean the same as foreign language film, but the inference is
that a foreign film is not only foreign in terms of the country of production, but also in terms of the
language used. As such, the use of the term foreign film for films produced in the United States, United
Kingdom, Australia, Canada or other English-speaking countries would be uncommon within other
English-speaking countries.( Eye the Movie, 2015).

The illusion of motion pictures is based on the optical phenomena known as persistence of
vision and the phi phenomenon. The first of these causes the brain to retain images cast upon the retina
of the eye for a fraction of a second beyond their disappearance from the field of sight, while the latter
creates apparent movement between images when they succeed one another rapidly. Together these
phenomena permit the succession of still frames on a motion-picture film strip to represent continuous
movement when projected at the proper speed (traditionally 16 frames per second for silent films and
24 frames per second for sound films). Before the invention of photography, a variety of optical toys
exploited this effect by mounting successive phase drawings of things in motion on the face of a twirling
disk (the phenakistoscope, c. 1832) or inside a rotating drum (the zoetrope, c.1834). Then, in
1839, Louis-Jacques-Mandé Daguerre, a French painter, perfected the positive photographic process
known as daguerreotypy, and that same year the English scientist William Henry Fox Talbot successfully
demonstrated a negative photographic process that theoretically allowed unlimited positive prints to be
produced from each negative. As photography was innovated and refined over the next few decades, it
became possible to replace the phase drawings in the early optical toys and devices with individually
posed phase photographs, a practice that was widely and popularly carried out.

In 1887 in Newark, New Jersey, an Episcopalian minister named Hannibal Goodwin developed
the idea of using celluloid as a base for photographic emulsions. The inventor and industrialist George
Eastman, who had earlier experimented with sensitized paper rolls for still photography, began
manufacturing celluloid roll film in 1889 at his plant in Rochester, New York. This event was crucial to
the development of cinematography: series photography such as Marey’s chronophotography could
employ glass plates or paper strip film because it recorded events of short duration in a relatively small
number of images, but cinematography would inevitably find its subjects in longer, more complicated
events, requiring thousands of images and therefore just the kind of flexible but durable recording
medium represented by celluloid. It remained for someone to combine the principles embodied in the
apparatuses of Muybridge and Marey with celluloid strip film to arrive at a viable motion-picture
camera.

Such a device was created by French-born inventor Louis Le Prince in the late 1880s. He shot
several short films in Leeds, England, in 1888, and the following year he began using the newly invented
celluloid film. He was scheduled to show his work in New York City in 1890, but he disappeared while
traveling in France. The exhibition never occurred, and Le Prince’s contribution to cinema remained little
known for decades. Instead it was William Kennedy Laurie Dickson, working in the West Orange, New
Jersey, laboratories of the Edison Company, who created what was widely regarded as the first motion-
picture camera.

Unlike the Kinetograph, which was battery-driven and weighed more than 1,000 pounds (453
kg), the cinématographe was hand-cranked, lightweight (less than 20 pounds [9 kg]), and relatively
portable. This naturally affected the kinds of films that were made with each machine: Edison films
initially featured material such as circus or vaudeville acts that could be taken into a small studio to
perform before an inert camera, while early Lumière films were mainly documentary views, or
“actualities,” shot outdoors on location. In both cases, however, the films themselves were composed of
a single unedited shot emphasizing lifelike movement; they contained little or no narrative content.
(After a few years design changes in the machines made it possible for Edison and the Lumières to shoot
the same kinds of subjects.) In general, Lumière technology became the European standard during the
early primitive era, and, because the Lumières sent their cameramen all over the world in search of
exotic subjects, the cinématographe became the founding instrument of distant cinemas in Russia,
Australia, and Japan.

In the United States the Kinetoscope installation business had reached the saturation point by
the summer of 1895, although it was still quite profitable for Edison as a supplier of films. Raff and
Gammon persuaded Edison to buy the rights to a state-of-the-art projector, developed by Thomas
Armat of Washington, D.C., which incorporated a superior intermittent movement mechanism and a
loop-forming device (known as the Latham loop, after its earliest promoters, Grey Latham and Otway
Latham) to reduce film breakage, and in early 1896 Edison began to manufacture and market this
machine as his own invention. Given its first public demonstration on April 23, 1896, at Koster and Bial’s
Music Hall in New York City, the Edison Vitascope brought projection to the United States and
established the format for American film exhibition for the next several years. It also encouraged the
activities of such successful Edison rivals as the American Mutoscope and Biograph Company, which was
formed in 1896 to exploit the Mutoscope peep-show device and the American Biograph camera and
projector patented by W.K.L. Dickson in 1896. During this time, which has been characterized as the
“novelty period,” emphasis fell on the projection device itself, and films achieved their main popularity
as self-contained vaudeville attractions. Vaudeville houses, locked in intense competition at the turn of
the century, headlined the name of the machines rather than the films (e.g., “The Vitascope—Edison’s
Latest Marvel,” “The Amazing Cinématographe”). The producer, or manufacturer, supplied projectors
along with an operator and a program of shorts. These films, whether they were Edison-style theatrical
variety shorts or Lumière-style actualities, were perceived by their original audiences not as motion
pictures in the modern sense of the term but as “animated photographs” or “living pictures,”
emphasizing their continuity with more familiar media of the time.

The shift in consciousness away from films as animated photographs to films as stories, or
narratives, began to take place about the turn of the century and is most evident in the work of the
French filmmaker Georges Méliès. Méliès was a professional magician who had become interested in
the illusionist possibilities of the cinématographe; when the Lumières refused to sell him one, he bought
an animatograph projector from Paul in 1896 and reversed its mechanical principles to design his own
camera. The following year he organized the Star Film company and constructed a small glass-enclosed
studio on the grounds of his house at Montreuil, where he produced, directed, photographed, and acted
in more than 500 films between 1896 and 1913.

The first film to achieve international distribution (mainly through piracy), Le Voyage dans la
lunewas an enormous popular success. It helped to make Star Film one of the world’s largest producers
(an American branch was opened in 1903) and to establish the fiction film as the cinema’s mainstream
product. In both respects Méliès dethroned the Lumières’ cinema of actuality. Despite his innovations,
Méliès’s productions remained essentially filmed stage plays. He conceived them quite literally as
successions of living pictures or, as he termed them, “artificially arranged scenes.” From his earliest trick
films through his last successful fantasy, La Conquête du pole (“The Conquest of the Pole,” 1912), Méliès
treated the frame of the film as the proscenium arch of a theatre stage, never once moving his camera
or changing its position within a scene. He ultimately lost his audience in the late 1910s to filmmakers
with more sophisticated narrative techniques.

Motion pictures, however, exist in time as well as space, and the major problem for early
filmmakers was the establishment of temporal continuity from one shot to the next. Porter’s The Great
Train Robbery (1903) is widely acknowledged to be the first narrative film to have achieved such
continuity of action. Comprising 14 separate shots of noncontinuous, nonoverlapping action, the film
contains an early example of parallel editing, two credible back, or rear, projections (the projection from
the rear of previously filmed action or scenery onto a translucent screen to provide the background for
new action filmed in front of the screen), two camera pans, and several shots composed diagonally and
staged in depth—a major departure from the frontally composed, theatrical staging of Méliès.

By 1908 there were about 20 motion-picture production companies operating in the United
States. They were constantly at war with one another over business practices and patent rights, and
they had begun to fear that their fragmentation would cause them to lose control of the industry to the
two new sectors of distribution and exhibition. The most powerful among them—Edison, Biograph,
Vitagraph, Essanay, Kalem, Selig Polyscope, Lubin, the American branches of the French Star Film and
Pathé Frères, and Kleine Optical, the largest domestic distributor of foreign films—therefore entered
into a collusive trade agreement to ensure their continued dominance. On Sept. 9, 1908, these
companies formed the Motion Picture Patents Company (MPPC), pooling the 16 most significant U.S.
patents for motion-picture technology and entering into an exclusive contract with the Eastman Kodak
Company for the supply of raw film stock.

The MPPC, also known as the “Trust,” sought to control every segment of the industry and
therefore set up a licensing system for assessing royalties. The use of its patents was granted only to
licensed equipment manufacturers; film stock could be sold only to licensed producers; licensed
producers and importers were required to fix rental prices at a minimum level and to set quotas for
foreign footage to reduce competition; MPPC films could be sold only to licensed distributors, who could
lease them only to licensed exhibitors; and only licensed exhibitors had the right to use MPPC projectors
and rent company films. To solidify its control, in 1910—the same year in which motion-picture
attendance in the United States rose to 26 million persons a week—the MPPC formed the General Film
Company, which integrated the licensed distributors into a single corporate entity. Although it was
clearly monopolistic in practice and intent, the MPPC helped to stabilize the American film industry
during a period of unprecedented growth and change by standardizing exhibition practice, increasing
the efficiency of distribution, and regularizing pricing in all three sectors. Its collusive nature, however,
provoked a reaction that ultimately destroyed it.

Nowadays, it is inevitable that foreign films are popular than local films. As the globalization, the
entertainment from other countries has replaced our local films significantly. This issue become a
considered one that need to be discussed about the causes of this trend and how to encourage local
movies.

To begin with, there are many reasons of this trend. Firstly, people always want to know how
people from other countries live. As the interest and curiosity of people, they want to understand other
cultures and prefer to watch international movies rather than regional movies. Secondly, in some
developing countries, film producers still have much less experience and techniques unlike international
makers. A variety of animations, story plots or advanced equipment can be created with a better quality
in foreign movies than local one. Lastly, most multiplexes are more likely to have a lot of time schedule
for foreign movie. The convenience of book a ticket for watching international films can lead to an
increasing of audience significantly.

As a result, the local films should be encouraged by the government. There are many measures
that can be taken for protecting regional films. Firstly, reducing tax on regional films so movie makers
will be able to get higher profit and audience can watch them in lower prize. If local films offer a cheaper
ticket price, the number of audiences will increase rapidly. Secondly, some promoted regulations should
be released from the government. Enforcing all local movies in timing schedule during weekend is an
effective way to increase a number of audiences. Most film viewers like to go to the cinema on the
weekend, as this regulation, many people will be more interested in local movies.

To sum up, as the interest of other cultures and ignoring local films by native people, all local
films can be replaced by international films in one day. If the government takes crucial steps to protect
our film industry, it will boost local entertainment industry and encourage native people to consume
their regional movies.

Foreign films are highly beneficial, and often more enjoyable than the films from one’s own
country. Watching foreign films allows one to learn more about other countries’ customs and cultures,
and promotes understanding. It allows us to see the human sides of each other in a world torn apart by
war and social problems.

Foreign films also feel more creative or interesting to us because they were made through the
eyes of someone who lives in a totally different culture and part of the world than you. This is why the
Studio Ghibli films feel more interesting and creative than the typical Disney films in America—there are
elements of Japanese culture in Ghibli that are unfamiliar, and therefore seem more interesting.

Films often have profound, meaningful morals. The best films are primal, and have themes
everyone can relate to. By spreading films worldwide, we show each other that we are all more alike
than different. We all believe in the same primal values—peace, love, family, acceptance, etc. This
brings all countries together, in a world typically separated by war and other conflicts. (Tica ,2015).

Related Literatures

The following are reviews of research literature on leadership studies that made use of the
major constructs of the present work.

As cited by Lee and Fu (2008), audience acceptance of foreign movies in an import-dominated

exhibition market—Singapore. The characteristics of home cinema markets and the cultural distances of
the film-exporting countries are operationalized in an empirical model to explain the highly varied
demand in this import market for international films from various sources. We show that during 2002–
2004 release frequencies and box-office performance for films originating in different countries are
significantly accounted for by both economic and cultural factors. Films from countries with larger
domestic markets and from countries culturally more similar to Singapore experience greater box-office
success. Furthermore, an individual foreign film's Singapore box-office performance is explained by its
box-office success in its home market and the intercountry cultural distance.
 According to the study of Ying (2003), Ying stated the relationship between foreign film
exposure and ethnocentrism by both considering individual differences factors and motives to watch
foreign films, based on the uses and gratifications theoretical model. The individual differences factors
include cosmopoliteness, access to foreign films and environmental ethnic diversity. The uses and
gratifications theory posits that social and psychological factors influence individuals’ motives to use
media and ultimately lead to different media effects. Accordingly, this research investigated how
individual differences related to motives to view foreign films and how foreign film exposure affected
people’s attitudes to other cultures.

The findings supported the notion that foreign movie viewing was both oriented to instrumental
and ritualized use. In other words, the motives of information seeking, social interaction, and
entertainment are salient reasons for cosmopolites for instrumental use of foreign films while relaxation
was a reason for ritualized use.

References:

Lingli Ying (2003). “RELATIONSHIP BETWEEN FOREIGN FILM EXPOSURE AND ETHNOCENTRISM”. Zhejiang
University, China.

Tracy Lee and Wayne Fu (2008). “Economic and Cultural Influence on Thearical Consumption of Foreign
Films in Singapore”.

(2015). “The Foreign Movies”. http://www.eyethemovie.com/foreign_movies.html

(Tica, 2015). “Many People Prefer to Watch Foreign Film Rather Locally Produced”.
https://www.testbig.com/ielts-writing-task-ii-essays/many-people-prefer-watch-foreign-films-rather-
locally-produced-films-1
 CHAPTER III

RESEARCH METHODOLOGY

This chapter presents the research methodology used, the respondents of the study, instrument
used, data gathering procedures, the reliability of the instrument used, scoring and the statistical
treatment of the data.

Research Design

The study will use a quantitative research with the use of descriptive-correlational. Descriptive
research is devoted to the gathering of information about prevailing conditions or situations for the
purpose of description and interpretation. This type of research method is not simply amassing and
tabulating facts but includes proper analyses, interpretation, comparisons, identification of trends and
relationships.

In this study, researchers use descriptive survey method to determine the Frequency of Foreign
Movies Watched and Self-Rated Language Skills in Watching Movies of the Grade 11 Students of Holy
Infant Academy.

Research Respondents:
The respondents of the study are the Grade 11 Senior High School Students of Holy Infant
Academy. It consists of Fourty (40) students to answer the questionnaire. The researcher asked for the
list of names.

Table 1

STEM ABM HUMSS GAS

Grade 11 15 10 10 5 40

TOTAL 40

Research instrument:

The data gathering instrument used in the study will be questionnaire.

Questionnaire. The questionnaire is the most common practical way of gathering data for
confirming, or dis confirming, a hypothesis. It served as the most appropriate and useful data gathering
device in any type of research. In this study, it was used to identify the frequency of foreign movies
watched and self-rated language skills in watching moves of the students.

Constructive of Questionnaire. The instrument was developed based on the statement of the
problem, personal experiences and some concepts found after studying some related literature that
covers the frequency of foreign movies watched and self-rated language skills in watching movies of the
students in Holy Infant Academy.

After the corrections and revisions, the approved questionnaire was reproduced and distributed
to the intended respondents.

Scoring of Responses. In determining the frequency of foreign movies watched and self-rated
languages skills in watching movies, the scale of 1 to 5 will be utilized. The score given was based on the
respondents.

Sampling Procedure:

The researcher use statistical random sampling taken from the total population of the
respondents.

Reliability of the instrument

The reliability of the instrument was determined using the result of their assessment. To
determine the reliability of the questionnaire, a test-retest method was conducted. This was done by
getting 40 randomly selected grade 11 HIA students.

r = Pearson r correlation coefficient

N = number of value in each data set
∑xy= sum of the products of paired scores
∑x = sum of x scores
∑y = sum of y scores

∑x2= sum of x squared scores

∑y2= sum of squared y scores

Scaling and Quantification of Data

The researchers will use the Likert point scale to quantify and measure the perception of the
respondents in the study entitled “Frequency of Foreign Movies Watched and Self-Rated Language Skills
in Watching Movies of the Grade 11 Students of Holy Infant Academy”.
 Table 2

Numerical Scale Description

5 Strongly Agree

4 Agree

3 Undecided

2 Disagree

1 Strongly Disagree

Statistical treatment of data

The data gathered in this study were statistically treated using the descriptive statistics.

Pearson r

Mean: 𝑥̅ = ∑ 𝑥

n
 Chapter IV

PRESENTATION, ANALYSIS AND INTREPRETATION OF DATA

This chapter presents the interpretation and analysis of the gathered data. This also includes the
answers to the sub-problems which the researchers attempted to answer in the progress of the study.

1. Assessment of the Students in terms of Frequency of Foreign Movies Watched

The researchers conducted a survey to the students in Holy Infant Academy regarding their
assessment on the Frequency of Foreign Movies Watched.

Table 1

Assessment of the Students in terms of Foreign Movies Watched

STATEMENTS MEAN INTERPRETATION

1.I watch more than two foreign movies in a week. 3.575 Often

2.I usually watched foreign movies at home. 3.675 Often

3.I spend my time in watching new and interesting movie. 3.55 Often

4.I am confident on watching foreign movies every day. 3.4 Sometimes

5.I can easily watched foreign movie anytime I want. 3.8 Often

6.I watched foreign movies with my family. 3.55 Often

7.I can watch series in a day. 3.425 Sometimes

8.I gathered foreign movies to watch in my vacant time. 3.35 Sometimes

9.I hang out with my friends for watching movie in cinema. 3.175 Sometimes

10. I collect foreign movies. 3.275 Sometimes

OVERALL WEIGHTED MEAN 3.4775 Often

It is shown in the table above that the mean and interpretation of the assessment of the
students in Holy Infant Academy was in balanced because 5 out of 1 statements (50%) were
interpreted to as often and 5 out of 10 statements (50%) were interpreted to as sometimes. The
table resulted an overall mean of 3.4775 which is interpreted as often. According to the result most
of the student can easily watch movies whenever they want to, this show the average of 3.8 which is
the most highest average above and on last ranking is the statement whereas the they hang out
with their friends in the cinema which has a mean of 3.175.

2. Assessment of the Students in terms of Self-Rated Language Skills in Watching Movies

The assessment of the students in Holy Infant Academy was obtained through the distribution of
questionnaires regarding the Self-Rated Language Skills in Watching Movies.
 Table 2

Assessment of the Student in terms of Self-Rated Language in Watching Movies

STATEMENTS MEAN INTERPRETATION

1.I have no difficulties of reading subtitles while simultaneously 3.725 Often

watching.

2. I am able to read and learn new and more structures of sentences 3.825 Often
in what I watch.

3.Through reading subtitles I learn the correct spelling of words. 3.625 Often

4.I can easily adopt the accent and mannerism of the actor in the 3.55 Often
movies that I watch.

5.I can use my vocabulary words in the movies that I watch. 3.725 often

6.I can easily understand the lessons or moral of the movie I watched 3.625 Often

7.Through watching foreign movies, I can adopt and understand the 3.45 Sometimes
movie.

8.I easily understand the dialogues in the movie. 3.85 Often

9.I speak more fluent. 3.7 Often

10. I can easily adopt the personality of the actor and actresses on 3.35 Sometimes
how they spoke.

OVERALL WEIGHTED MEAN 3.6425 Often

It is shown in the table above that the mean and interpretation of the assessment of the
students in Holy Infant Academy was inconsistent because 2 out 10 statement (20%) were
interpreted as sometimes but 7 out of 10 statements (70%) were interpreted to as often. The table
above resulted to an overall mean of 3.6425. As shown in the table above most of the student can
easily understand the dialogues in the movie they watch which got the most highest mean above
having a mean of 3.85 and on the last part of the ranking is the statement of which the students can
easily adopt the personality of the actor and actresses on how they spoke which has a mean of 3.35
which put it on the last.

3. Significant Relationship in the Assessment of the Frequency of Foreign Movie Watched and
Self-Rated Language Skills in Watching Movies
 Table 3 shows whether or not the assessment of the two sets of variable used, the Frequency of
Foreign Movies Watched and Self-Rated Language Skills in Watching Movies has significant relationship
to one another.

Table 3

Significant Relationship in the Assessment of the Frequency of Foreign Movies Watched

and Self-Rated Language Skills in Watching Movies

Mean Mean R-Value P-Value Decision Verbal

Difference (two-tailed) On (Ho) Interpretation

Frequency
of Foreign
Movies
Watched 3.4775

Self-Rated -0. 17 0.5675 .0997 reject Significant

Language
Skills in
Watching 3.6425
Movies

According to the table shown above, the mean of the assessment of the frequency of foreign
movies watched is 3.48 and the mean of the assessment of the self-rated language skills in watching
movies is 3.64 with the mean difference of 0.04. To test the significant relationship between the
frequency of foreign movies watched and self-rated language skills in watching movies, independent r-
test was used and the r-value is 0..57 which means they have a strong correlation. In addition, it can also
be seen from the P-value of the variables was 0.0215 if the value of p is greater than 0.05 the hypothesis
is rejected. It could be interpreted that there is a significant relationship on the frequency of foreign
movies watched and self-rated language skills in watching movies of the grade 11 students in Holy Infant
Academy.
 Chapter V

SUMMARY, FINDINGS, CONCLUSIONS AND RECOMMENDATIONS

This chapter presents the summary, findings, conclusions and recommendations of the study.

Summary of Findings

The researchers gathered all the data analysis and interpret it. The following presents the
summary of the findings from the data gathering and analysis.

1. The students can easily watch foreign movies anytime they want and they don’t really hang out
with their friend on the cinema just to watch new foreign movies.
2. The students can easily understand the dialogues in the movie they watch and they sometimes
adopt the personality of the actor and actresses on how they spoke.
3. The assessment of the frequency of foreign movies and self-rated language skills in watching
movies were proved to have a significant relationship. With this, the respondents were conclude
to agree on the given statement of the researchers.

Conclusion

The result reveals that there is a significant relationship between the frequency of foreign
movies watched and self –rated language skills in watching movies of the grade 11 students in Holy
Infant Academy.

Majority of the students in Holy Infant Academy often watch foreign movies in their vacant time
most especially anytime they want to. They can also watch more than two movies in a week which also
help them to improve their capability in speaking nor in their communication skills. All of the students in
Holy Infant Academy agreed that they are using self-rated language skills in watching movies and mostly
they can easily understand the dialogues on the movies which shown a big connection with what they
watched. There is a significant relationship on the assessment of frequency of foreign movies watched
and self-rated language skills in watching movies.

Recommendation

With reference to the above findings and conclusions, the researchers proposed the following:

The English teacher is recommended to use foreign films as one of their visual aids so that the
student may easily understand the topic and they may also benefit in terms of improving their
vocabulary. The students are recommended to watch foreign movies with subtitles so that they can
learn and adopt some new thing that they can learn in from it. For the future researchers, conduct
similar study research to validate the results of this study.
APPENDICES
 APPENDIX A

BIBLIOGRAPHY

References:

Lingli Ying (2003). “RELATIONSHIP BETWEEN FOREIGN FILM EXPOSURE AND ETHNOCENTRISM”. Zhejiang
University, China.

Tracy Lee and Wayne Fu (2008). “Economic and Cultural Influence on Thearical Consumption of Foreign
Films in Singapore”.

(2015). “The Foreign Movies”. http://www.eyethemovie.com/foreign_movies.html

(Tica, 2015). “Many People Prefer to Watch Foreign Film Rather Locally Produced”.
https://www.testbig.com/ielts-writing-task-ii-essays/many-people-prefer-watch-foreign-films-rather-
locally-produced-films-1
 APPENDIX B
QUESTIONNAIRE
Holy Infant Academy

Dear Respondent:
Attached is a questionnaire entitled “Frequency of Foreign Movies Watched and Self-Rated
Language Skills in Watching Movies of the Grade 11 Students of Holy Infant Academy”

As a respondent of the study, may I request you to answer all items honestly and accurately.

Rest assured that answers shall be treated confidentially and will be very useful on the Research
we are preparing as a partial requirement for the Senior High school strand

Thank you for your kind support and cooperation.

Respectfully yours,

The Researchers.

NAME (optional): ____________________________

STRAND: ____________

Rate the statements below according to the extent of your desire: 5 as the highest and 1 as the lowest.

1 – Never 3 – Sometimes 5 - Always

2 – Rarely 4 - Often

A. Frequency of Foreign Movies Watched 5 4 3 2 1

1. I watch more than two foreign movies in a week.

2. I usually watched foreign movies at home.

3. I spend my time in watching new and interesting movie.

4. I am watching foreign movies every day.

5. I can easily watched foreign movie anytime I want.

6. I watched foreign movies with my family.

7. I can watch series in a day.

8. I gathered foreign movies to watch in my vacant time.

9. I hang out with my friends for watching movie in cinema.

10. I collect foreign movies.

B. Self-Rated Language Skills in Watching 5 4 3 2 1

1. I have no difficulties of reading subtitles while simultaneously watching

2. I am able to read and learn new and more structures of sentences in what I
watch

3. Through reading subtitles I learn the correct spelling of words

4. I can easily adopt the accent and mannerism of the actor in the movies that I
watch.

5. I can use my vocabulary words in the movies that I watch

6. I can easily understand the lessons or moral of the movie I watched.

7. Through watching foreign movies, I can adopt and understand the movie.

8. I easily understand the dialogues in the movie.

9. I speak more fluent.

10. I can easily adopt the personality of the actor and actresses on how they
spoke.

APPENDIX C
 CURRICULUM VITAE

NAME: Gem Clifford Bruce Visaya

BIRTHDAY: October 7, 2002

BIRTHPLACE: Holy Cross Hospital

ADDRESS: Canubing II, Calapan City, Oriental Mindoro

AGE: 16 years old

CIVIL STATUS: Single

EDUCATIONAL ATTAINMENT
PRIMARY: Canubing II, Elementary School

Canubing II, Calapan City , Oriental Mindoro

SECONDARY: Holy Infant Academy

Ilaya, Calapan City, Oriental Mindoro